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Table of contents
- Romanticism
- The Occasional Virgin
- Romanticism | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
- Judy Blume
- By the Author
Or were they predators trapped in an inevitable destiny predicated by the socio-economic depression that characterized the Detroit suburbs in the s?
Progressively, their authoritative plural voice and sense of community become shattered by trauma, guilt and shame, which ironically are also the threads that have sewn together their group identity for twenty years. Suburban Repression, Predicaments and Traumas The words in the second part of the title of this paper refer specifically to the complex condition of the collective narrator. In The Virgin Suicides, these are interchangeable categories applicable to almost all agents in the story: to the interviewed suburban inhabitants, to the Lisbon girls, but mainly to the collective narrator.
Being a reflection of the whole community, the boys seem to be mere bystanders or voyeuristic observers of the events in their neighborhood: they witness the metamorphosis of the childlike girls into alluring women, their subsequent death drive, the deterioration of suburban space chipping down of elm trees and of industry lay-offs in automobile factories. As the group of boys tries and fails to save the girls, symbols of their new erotic desire, they become deeply traumatized, a condition that will last for twenty years.
Towards the end of the novel, these middle- aged men admit that they might have acted as perpetrators because of their deliberate negligence in not getting to know the five sisters or letting them have their own voice, narrative, otherness. Even at the end, the narrator constantly replaces the girls by the objects that belonged to them.
This violence is not the result of a hate crime, but rather an excessive, erotic desire for the girls, which produces an equally excessive reaction in the girls. The long process of coming to terms with the shame, guilt and stupefaction that followed the traumatic events begins with the discursive interconnection between the collective narrator, the subjects of its narration, the suburban community and a prospective reader.
Romanticism
As stated above, among the main concerns in this paper are the experimental quality of the narrator and the analysis of how this group of grown-ups faces the traumatic aftermath of the suicides of their neighbors, events that took place about twenty years before the narrative begins. Their multiple and alternating status of bystanders, perpetrators and victims hinders the reader from siding with any one of the recounted versions of events. They try to cope with their post-traumatic suffering through searching for empathic bonds with the subjects of the story the Lisbon girls , the rest of their neighbors and an unknown addressee.
The collective voice recreates the year over which the suicides take place, which coincides with their sexual awakening, by using magical realist story- telling. In the end, the narrator is able to combine a history of collective trauma —that of s suburban America— and a story of survival —his imaginative storytelling. In The Virgin Suicides the reversal of this statement is true: there is a psychic processing of individual narratives and a conversion of these into a cultural story. Both perspectives apparently present a paradox since a sinless suicide is religiously impossible and not all the girls are virgins what is more, they are described in erotic terms throughout the text.
The Occasional Virgin
As the suburban streets lose the only traces of natural life and fertility —the trees and the girls— the barren landscape becomes a symbol for the loss of emotional relations in the suburban community. It can thus be argued that the novel also hides a latent criticism of suburban collective repression and its darker aspects. From the first page, the ghosts of the blond sisters haunt the narrative. A few are fuzzy but revealing nonetheless. It was taken by a real estate agent, Ms. The wound opened by Cecilia, Lux, Bonnie, Mary and Therese is interpreted in the novel as both the symptom and the cause of a collective suburban malaise.
The girls also want to break away from the oppression represented by suburban life. Other American novelists, such as Ira Levin, had already denounced the conformity and fakeness of the suburb back in the s, when her story, The Stepford Wives , takes place.
Romanticism | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
The social problems of the fictional suburb Grosse Pointe progressively emerge as faint references to the American historical background. In contrast to the pervasive ghosts of the girls, the invisible presence of African-Americans appears as an aside. The narrator seems to give fleeting importance to the resemblance borne by the mannequins in shop windows to Ku Klux Klan members or to the fear black people inspire in white kids.
On rare occasions a black maid appears at a bus stop or a black bartender serves alcohol to underage kids. The narrator mentions these events apathetically, quickly plunging back into the story.
Judy Blume
Searching for truth, the traumatized collective narrator enacts a textual burial of the deceased via storytelling. Thus, engagement with this explicit you as other also brings the story closer to the real readers, suggesting our own role as witnesses of the traumatic events. Not only are the multiple exhibits a means of engaging with the dead girls and the addressee, but also a manifestation of trauma. The absent exhibits may also be read as a symbol for the presence of an already commodified togetherness among suburbanites. Conformity in The Virgin Suicides is underlined by the passiveness of the community of bystanders, the narrator included, who seem to see the girls as responsible for their misfortune.
Steven K. The bystander, according to Baum, seeks normalcy. The boys who will eventually become the narrator feel the need to belong within a society; a need paradoxically accompanied by their involvement with the female outcasts of that society —the Lisbon sisters. While the boys can be seen as active detectives and concerned witnesses to the tragedy, offering their help to free the girls from their oppression by playing songs to them over the telephone, or by approaching their house to talk to Lux, in the last chapter of the book, there is a return to a position of inactivity until the last sister, Mary, puts an end to her life.
The many, however, can be as dangerous as the protagonist in The Collector , Frederick Clegg, the collector and killer of butterflies and of beautiful, bright girls. Could repression be the basis for community formation? Their refusal to live brings to the fore the social effects of heavily repressed collective wounds such as race riots, lay-offs, the impossibility of integration experienced by immigrants, or the ecological crisis.
The climactic moment occurs on the night when the remaining four sisters decide to commit a mass suicide and the boys become direct witnesses on seeing Bonnie hanging from the ceiling. The doctors we later consulted attributed our response to shock. As readers, we might even think that the roles have been reversed and the girls have become themselves perpetrators in order to punish the boys with eternal coldness and silence for their weaknesses.
What we do know is that the narrator has suffered not a mere traumatic shock but a gradual realization of his own guilty part in the story.
By the Author
It may also impair the prevailing sense of communality. Suburbia, instead of being supportive, is either too nagging or too forgetful. A character named Mr. The smoky sound of her voice brought the scene to life for us: the old woman at the kitchen table, her skimpy hair up in an elasticized turban; Mrs.
Whereas Dominick LaCapra finds the distinction between victim and perpetrator important 79 , Sharon Lamb claims that even perpetrators can be victims provided that being a victim does not exempt one from responsibility Both critics exemplify their different approaches to the issue with examples from real life that open breaches in the networks of commun al ity —the Holocaust and sexual abuse respectively. Throughout his report, the narrator shows reiterative symptoms of being victim, perpetrator or both.
In addition, the multiple versions of the events stress the nonjudgmental, anti- categorical mode of the narrative. Karafilis, the old Greek lady, claims that suicide in an incoherent American suburb makes sense to her, while Mr. And us. In his lifetime, the former perspective was far more prevalent: de Sade was imprisoned for over 32 years in numerous gaols, asylums and fortresses for his writings.
A masterpiece of satire, Slaughterhouse-Five defies genres, blending war stories with a science fiction element to create a unique voice which explores ideas of mortality, trauma and the violence of war. Vonnegut was also one of the first writers to depict gay men as victims of Nazi prejudice. The novel has attracted abundant criticism over the years, with many labelling it blasphemous, immoral and obscene, and has been banned from multiple libraries. In one famous case, the head of a school board burned 32 copies of the book after it was attempted to be taught in the classroom.
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